![]() ![]() She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. ![]() It was also under Pintscher’s direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic’s inaugural 2014 Biennial, before reuniting with him to revisit the work at London’s BBC Proms. She has since reprised Dusapin’s concerto with the Stuttgart and Paris Opera Orchestras and Pintscher’s with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer’s leadership. She has premiered two important new concertos, giving Pascal Dusapin’s Outscape “the kind of debut most composers can only dream of” ( Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” ( Boston Globe) to Matthias Pintscher’s cello concerto un despertar with the co-commissioning Boston Symphony the following year. Martin in the Fields.Ĭommitted to expanding the cello repertoire, Weilerstein is an ardent champion of new music. To celebrate Beethoven’s 250th anniversary, she and the Israeli pianist performed the composer’s five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven’s Triple Concerto, as heard on the duo’s 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London’s Wigmore Hall, Milan’s Sala Verdi and Amsterdam’s Concertgebouw. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich’s Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo’s NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic change the very sound a musician makes, or help her see a beloved piece in a new way.”Įarlier in the 2019–20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn’s two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As captured in Vox’s YouTube series, her insights into Bach’s first G-major prelude have been viewed almost 1.5 million times. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK’s Sunday Times. During the global pandemic, she has further cemented her status as one of the suites’ leading exponents. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego at Aspen and Caramoor in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona and for a full-capacity audience at Hamburg’s iconic new Elbphilharmonie. Bach’s six suites for unaccompanied cello figure prominently in Weilerstein’s current programming.
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